By Doc Rock @juno.com
Thursday
July 16, 1998
08:58 AM PST

J&D Legendary Masters CD

This is the most exciting thing to happen in Jan-and-Dean-dom since Jennie Lee first bomped across a stage in Los Angeles. At long last, the long awaited (first ever!) Jan and Dean CD has been released! It is also available on cassette, and I have no idea of there is also an LP version. However, this CD is what we have all been waiting for -- even if we did not know it, and even if it is not exactly what we expected it to be.

First, as Tricky Dick Nixon used to say, let me make one thing perfectly clear. Nothing I say about this CD should be taken as a criticism of the CD or of the men who compiled it. My love for the CD is unqualified. On the other hand, there are some aspects of the release that are, shall we say, worthy of note. I have combined two things in this review. First, I have given a factual account of the salient characteristics of the CD. For the most part, that means describing how the recordings on the CD differ from the hit 45 versions. Two, I give personal opinions evaluating how I think the CD turned out. Please forgive me for this indulgence.

The Title

"Surf City The Best of Jan and Dean the Legendary Masters Series." What a heritage that title has! "The Very Best of" is a title that has been used many times in conjunction with Jan and Dean. Luckily, J&D had a lot of stuff that was the Very Best! Often, the title is followed by "Vol. 1" or "Vol 2." I wonder what the next CD will be called! "Surf City," being their biggest hit, is a logical choice to attract buyers. And "Legendary Masters!" This title was used in conjunction with Liberty back when their subsidiary, Imperial Records, released a series of two-LP sets of "authoritatively documented and handsomely produced albums" of rare recordings of gospel, blues, country, jazz, Mexican, folk, r&b and r&r. For example, released about 1970 was "Legendary Masters Series Vol. 1 Rhythm 'n' Blues The End of and Era." This contains classic recordings, many previously unreleased, like "No One To Love Me" by the Shaweez (aka the Cha-Paka- Shawees), recorded in New Orleans at the J&M studios on November 23, 1952 and released on Aladdin 3710. See what I mean? Legendary Masters! Shortly thereafter, United Artists (which had bought Liberty/Imperial/Dolton) made a new Legendary Masters Series. the first four sets were all dedicated to legendary greats: Fats Domino, Eddie Cochran, Ricky Nelson, and Jan and Dean. Each featured lots of photos, inside information, and hits as well as rare tracks. The new Legendary Masters CD series continues the wonderful tradition of this series.

The Cover

The cover to the CD outstanding. It is distinctive, and evocative of the period. It looks '50s or early '60s. The cover photo is an all-time favorite, one that Dean in particular is fond of using. However, for some reason, the photo of Jan and Dean is reversed! Dean's hair, for instance, appears to be parted on the right instead of the left. And, for those who do not know Jan and Dean, they will think (as so many have) that Jan is Dean and Dean is Jan, for Dean appears to be on the left. This may seem trivial, but it may not be. for example, legend has it that the western outlaw Billy the Kid was left-handed. There have even been books and movies about Billy with titles like "The Left-Handed Gun." He is famous as a lefty. Some psychologists have even said that his being left-handed is part of his twisted, anti-social, bud guy behavior. But in fact, he was not left handed at all. The only photo we have of him was once printed reversed, and for generations since, he has been believed to be left handed. So it is too bad that Dean looks like he is Jan and vice versa.

Also, this photo is a color shot when reproduced elsewhere, such as on the front of the Ride the Wild Surf LP, the Golden Hits Vol. 2 LP, The Very Best of Jan and Dean Vol. 1 on the Sunset subsidiary of Liberty, The Very Best of Jan and Dean (a different LP on the British Sunset label), the United Artists two-LP set Legendary Masters Jan and Dean Anthology Album, and the two-LP set California Gold on Pair records (this photo is actually another slightly different shot from the same session). If we had to use this shot yet again, did it have to be in black and white and backwards? Well, that is the worse thing about the CD. From here on in, things just get better. Inside the CD Crystal One of the reasons I have been a bit anti-CD up to now (other than the fact that I have thousands of 45s) is that the nice photos and liner notes of an LP were sacrificed with the small size of a CD. Not so with this CD. Inside, there is a booklet that unfolds into a pot of Jan and Dean gold! One side features a full-color collage of Jan and Dean 45s, LPs, picture sleeves, promo copies, and sheet music! For the new fan, who does not have all of these artifacts of the '50s and '60s, this is a bonanza worth studying for hours! The sheet music for "Anaheim..." is of particular interest. The photo used there is Dean's (and my) least favorite, from the back of their first Liberty LP. Over the years,that photo was used a lot, on everything from a cardboard picture disk of "Linda," to magazine articles. It makes them look bad, like wax figures of cousins of Jan and Dean. Insult to injury, it was used inappropriately many times, years later, when Jan and Dean looked totally different, and in contexts that it did not fit. Why, "Anaheim..." should show them in surfer shirts, not suits!

The other side of this sheet features exactly one photo -- the same one again! Oh well. This has taught Dean a lesson he passed on to any artists he worked with as a graphic designer. "Never let a bad photo get released. It will come back to haunt you again and again!" This photo stuff is nit-picking, though. I mean, this is a CD folks! The liner notes are extremely well written. This is the best thumbnail sketch of the career of Jan and Dean I have ever seen -- albeit from Dean's point of view.

A big extra bonus: each track is described with details such as writer, publisher, master number, recording and release dates, Liberty record number, reissues, LPs, take number, chart date, and chart position. What a deal! The men to thank for this wonderful package are Steve Kolanjian and Ron Furmanek. I feel like a bum even mentioning the photo problems. All in all, this is a great package.

The CD

Wow! You know how cheap and tinny all CDs seem to look? Well, this one is nothing like that. Basically, the company has recreated the original '60s Liberty 45 sleeve on the CD! There is the golden Statue of Liberty, the rainbow of colors on the left, the black background, everything! This is the most beautiful thing to happen to Jan and Dean since Jennie Lee first bomped across a stage in LA!

The Music

Up to this point, everything I have said can be written off as basically irrelevant to the music. The point is the music. Remember, I am not being critical of anything on this CD. Given the choice, there is not one note that I would change. However, from the collector's point of view (and this is the Official Jan and Dean Collectors' Club), from the point of view of new fans who do not have knowledge of the original releases, and from the point of view of historical accuracy, each cut has features or attributes that should be documented. Steve and Ron, you did a great job. I have been listening to this thing over and over since I first got it, and I love it. (By the way, via a friend at a record distributor, I got a copy a week before its official release date. I almost died! After all, I do not even have a CD player. I had to tape it at the radio station during my oldies show! The tape cannot even begin to do justice to the real CD. I gotta get a player!) In reviewing each cut, I will not reproduce any information already provided on the CD liners. I will just talk about what is in the grooves -- er, the digits.

A Sunday Kind of Love

There is not much difference between this version of this Jan and Dean song (a remake of Fran Warren and the Claude Warren Orchestra's big band hit) and the version on the stereo edition of Jan and Dean's Golden Hits LP. When a recording was on a four track tape to start with, there is not much that can be done in the CD remix process. The sound is extraordinarily clear, though. The song ended cold (no fade). The vocals seem a bit more dominant than on the original 45 mix. Ever since the mid-'60s, the trend has been toward making the lead vocal louder in the mix on rock records, compared to the early '60s. So, most times, when anything from the early '60s has been remixed, the lead vocals are just naturally brought out a bit. This probably came from the fact that artists also took on the role of both composer and producer, on many records. Thus, they were more likely to feel the lyric delivery was more important than the band. On the other hand, this mix might be the same as the early stereo LP. When any recording is listened to in stereo, the lead vocals (as well as any other parts) are more easily distinguished than on a mono mix.

Tennessee

Same thing. It is really a treat to hear such a clear recording of this. For example, a banjo/guitar part that was virtually undetectable before is easily heard here.

Fiddle Around

Whoa whoa whoa! Now we are talking remix! Violins one the left, piano and bass guitar on the other side, voices in the middle. "Sounds great in stereo," to coin a phrase. The piano part, not really heard much before this, adds a real bouncy feeling to the song.

Back in the early '70s, Dean told me about a compilation LP he had just bought of the Drifters hits. He was a bit peeved because the end of each song had been cut by a few seconds. As he put it, he knew every note of those hits, and Ben E. King had done some of the neatest things on those endings. When they were cut off, he noticed it and missed them. I shared his lament and had begun the discussion when I told him about how "Dead Man's Curve" had been cut a tad on the stereo Jan and Dean LP, but that certain cuts ("Hot Stocker," "Dead Man's Curve," "Who Put the Bomp") were actually longer on certain versions of certain Jan and Dean LPs. We both agreed that longer endings were fine -- only shorter ones were to be avoided. Why would an engineer cut a song short by two seconds? How much remix studio time could that save? Artistically, or in terms of attracting a DJ, was there really anything to be gained by cutting a song short on an LP? Cutting songs short is certainly not an issue on this CD!

My Favorite Dream

Another stereo/CD remix gem. The bass guitar again stands out, and a nice guitar part that was lost before carries the song along. The biggest difference, perhaps, is the louder clap percussion sound. And the girl singers sound excellent.

Linda

This was the first song at Liberty that Jan got to produce instead of Lou Adler or Snuff Garrett. It shows. The CD track starts with just a few moments of studio talk, Jan and Dean discussing delivery, and the engineer and orchestra leader getting ready. This was also the first hit done on two, four-track recorders, providing much more potential for remixing. Dean's lead vocal has had the edge softend by some nice equalizing. The overall mix sounds just about like the original stereo LP cut. (The mix on the "Dead Man's Curve" LP was slightly different, with the vocals subdued. All over the track, vocals and instruments are clearer than they ever have been. But the real additions here is a longer fade out than we ever got before. The last couple of seconds are even a capella, reminiscent of the ending to the Beach Boys "Fun Fun Fun." At the very end, the song ends with Jan's voice trailing off alone. This raises an interesting point. This is the first cut to differ substantially from the original hit 45. I see no problem with that. To the contrary, I love it! Hearing these bits of studio talk, and the real end of the song, is the most exciting thing since Jennie Lee first bomped across a sage in Los Angeles. But, what happens if a DJ plays this cut on the radio as a hit from 1963? What will people, especially kids and new fans who weren't listening to the radio in 1963, think? Will they believe that the record really started with studio talk, and a false start? When I played this cut on my radio show, a person in the studio with me reacted in a very negative, puzzled manner. The odd ending would also sound a bit off, in a delightful way, to a long-term fan. But to a new fan? I don't know.

Surf City

Now, here we find our first case of radical remixing. And I truly love it. I never liked "Surf City" too much. That is an over statement. It was just not a big, personal favorite of mine, leading me to wonder why it was their biggest seller. But this version changes all of that. It opens with studio talk and another false start. We'll let the DJs and new fans wrestle with that.

The song has been remixed. Instead of lead vocals by Jan and Tony on one side, and the full Matadors background on the other, this new mix has leads is both sides. This was a style used consistently on Beach Boy records. It was even used on the original stereo mix of "Surf City" -- for Brian's falsetto part. But it was never used on Jan and Dean hits. For some reason, hearing the lead split between the two sides is very exciting. The background parts were moved to the middle. "Surf City" is twice as good here as before in stereo. The ending? The fade is about as long as it could be, with the band falling apart and ending with drum and guitar sort of falling down and belching! Sort of.

She's My Summer Girl

This song was originally for the flip side of "Surf City." Later, it turned up on the Ride the Wild Surf LP. It has always sounded good, and here the fullness of the sound is even more noticeable. The opening studio talk that was, for some reason, let pass on the old LP version, is reproduced here. "Eleven bees, four wasps, and a turtle." But here, the studio talk starts just a bit earlier, and we here the engineer saying, "11- B," the number of the take! (See the liner notes.) The ending was also long on the old LP mix, and is equally long here, even a tiny fraction longer, with a man's voice heard at the very end. A very nice addition to the CD.

Honolulu Lulu

Several years ago, I wrote that one of the best candidates for a Jan and Dean CD would be "Honolulu Lulu," because of the density of the track. There is so much music in the grooves of the 45 that a record player can hardly do it justice. It seemed to me that a CD would handle it much better. Another thing. The original 45 recording (version, not mix) has never appeared on an LP. The hit 45, and 45 reissues, were all of one take. But every time the song was on an LP, from the original Surf City LP to the latest compilation, an alternate recording has always been used. The difference is small, but it is there and very detectable if we listen carefully. On the 45, Dean hollers a falsetto "Woh-Oh!" when Lulu goes over the falls instead of hangin' ten. On the version used on all LPs, he says, "Whoops!" The other big difference, more easily heard, is in the fade out. On the 45, the singing parts have this kind of pattern, in terms of pitch: Oooh, Oooh! Oooh, Oooh! Oooh, Oooh! Oooh, Oooh! etc. But, on the LP, the fade out vocals have a different pitch pattern: Oooh, Oooh! Oooh, Oooh! Oooh, Oooh! Oooh, Oooh! Oooh, Oooh! The CD recording is ... well, it is hard to say! It has the "Whoops! of the LP version, but the "Ooohs" of the 45!! A hybrid! It would have been nice if one of the specialties of this CD -- giving us stereo mixes of recording we heard only in mono before -- could have been extended to cover "Lulu." Do the tapes of the 45 recording even exist? I don't object to a third version. I just want an answer to the mystery, not more confusion! Holy mixup! The version we did get is remixed. As on "Surf City," the lead and background vocals are moved from the two sides into the middle. And the fade is longer, stopping short of a real ending. This cut will sound real nice on the radio!

Someday

Now we are talking surprise! The flip side of the "Lulu" 45 was never on an LP, and never heard in stereo. But here it is, thanks to Ron and Steve. This has been a favorite of mine since 1963, and many others have also told me they liked it. The sax, drums, clicker, and horns are all much more distinguishable here than on the mono 45. The fade out is another treat, extending into the a capella territory again. This CD just gets better and better!

Drag City

As Jan's father told me quite a few months ago, when the master tapes were taken out of the vault for this CD, they had not been unsealed since the mid-'60s. All of the compilations and CDs up to this point were taken from records or from tapes of a later generation -- dubs. The reason this is important, from the CD point of view. While the quality of reproduction on a record is such that any tape will sound the same as any other, on a CD, a master tape will sound better than a dub. But . . . the master tapes never had any sound effects. When a sound effect, such as a car engine, was put onto a Jan and Dean song, it was not added to the main, original master, but to a dub down. The dub down was then used to make all the records, and the master -- sans effects -- was locked up in the vault. What this means for us now is that, when a CD is made from the master tapes, there are no sound effects. To recreate the sound of the original hits, the sound effects had to be put on all over again.

As a result of adding the car back to the opening of "Drag City" again, the level is just a hair off. When the song starts, it is a bit jarring, and the sound quality of the car engine, coming off an old sound effects record, is not up to the quality of the rest of the tune. The timing is right on the mark, however. The remix is another switch of lead on one side and back grounds on the other, to splitting the difference and putting them all over. Like "Lulu, "Drag City" is such a busy recording that it almost takes a CD to do it justice. On the other hand, the mono 45 has a power and impact that no stereo mix can ever match. The fade out is standard.

Popsicle

Once again, the vocals are moved in from the sides, although they are still left and right. They are just not extremes anymore. Of course, this is the original Drag City LP version, not the slightly remixed version Dean did for the 1966 45. We are treated to a longer fade out than ever before, as we have almost come to expect by this point in the CD.

Dead Man's Curve

This is possibly the best song they ever did. The CD is beautiful. The vocals are brought in again. But the biggest change is probably the new predominance of the horns. On the 45, they were not all that noticeable. On the stereo LPs, they were fun to hear so well, and I often moved the balance to bring them out. Now they are brought out in a way that shows Jan's true artistry as an arranger and composer, as well as producer. "Slippin', slidin', driftin' and broad slidin'" is clearer than ever. The crash sounds exactly as before. The skids in the fade are also about perfect. Either they used the mix down instead of the master tapes, or else they really paid close attention to detail when reconstructing the effects on this gem. Good work!

The New Girl In School

There was always supposedly girls -- the Honeys, in fact -- on this recording. But the background vocals were so packed, and J&D songs were always so rife with falsettos, that it was always hard to tell for sure if the Honeys were really present. Now we know. This cut starts with studio talk. Jan is checking with the background singers, and a female, several in fact, can be heard talking and even coughing! The vocals are again brought in from the extreme sides, although they are still left and right. The old left-right-extreme stereo LP placements were to be sure that the stereo record buyers were not disappointed when they got the platter on their turntables. The new ones are less extreme, and give a more realistic sound. The ending of this cut is the #1 highlight of the CD. We get a longer fade out. We knew since 1973 that the track was longer than the old 45, because when Dean redid the vocals on a United Artists 45, using the old track, he went much longer. But what we never did know was that the old recording, with Dean on lead, had a twist of ending that almost sounds like the song is about to restart. "Sure was a drag 'til she transferred here"? Too bad everyone was afraid to use extra long endings on 45s back in those days. This one would have been a great asset, I think. I love it! As the Beach Boys once said, "Thanks, Dean!" And Steve and Ron, too!

The Little Old Lady

At first, this sounds about regulation. The lead is moved to the middle, again. The chorus starts to show changes, though. One of the best things about the CD is that the low parts of harmonies are reproduced better. An interesting thing here is the trumpets. On the out take bootleg version of "Lady," the trumpets can be heard in the rehearsals. But on the hit 45, they are mostly mixed down so that they really are not noticeable. But here, they are back up on the chorus! Fun! The fade is nice and long, but quite suitable for air play -- no funny stuff here, for better or worse.

Ride The Wild Surf

There is some funny stuff here, for better or for worse, a second of studio talk at the beginning and the conductor's (Hal?) countdown. Another recording that is packed with parts, a nice, clean CD reproduction is welcome. Funny thing though. During the "Ride ride ride, the why-ild surf" parts, phasing was evidently added to the CD track! What a surprise! Was this added in 1990, or was it on the original but not discernable? I have studied the stereo LP version, and cannot hear it. Maybe it has to be on a CD to be heard; maybe it was added; or maybe it was an alternate mix that was nixed in 1964. In any even, the phasing is subtle enough that it shouldn't harm air play, even on FM, and it adds a bit of welcome, extra excitement. Normal ending, with a nice falsetto by Mr. Torrence.

The Anaheim, Azusa, & Cucamonga Sewing Circle, Book Review and Timing Association

This opens with a countdown, too. On the line, "Shootin' the breeze," Jan did something that I always liked. He varied the mix in mid-tune. By that, I mean that during a song, he might have a guitar a little loud for a while, then reduce the volume on that part and bring up an oboe of sax. That way, all of these different instruments he so talentedly employed could be noted, heard, and enjoyed, and not missed in the mix. On the line in question, he highlighted a little guitar riff that I always really loved. That guitar part is all but missing on the CD. The mix is not completely the same throughout, but some things are missing. It is a small detail, but I miss it a lot. The voices are transplanted again. The French horn is allowed to shine. On a car stereo, this cut is terrific. The longer fade is fun, since I always wanted this song to be longer.

Sidewalk Surfin'

Remember the discussion of sound effects on Drag City? The Drag City parody, "Sidewalk Surfin'," started the same way. Except that the sound was a skateboard, not a car! As noted in the liners, the skateboard was never added to the stereo version up to now. An engineers mistake, as Dean once explained to me. You see, J&D mixed the hits and the mono LPs. But they left it to the engineer to do the stereo mixes, after they left (for class?). And the engineer in 1964 just left off the skate effect. Over the years, every stereo LP had the effects missing on this song. Moreover, the stereo track was fuzzy and the tape was slower just slightly. When Dean was in charge of a reissue or compilation, he always used the mono track. An interesting sidelight of all of this was that the stereo mix had a cymbal, imitating a skate board at the beginning, as it had imitated a wave on so many hits. On the mono mix, where the special skateboard effect was used, the cymbal was not heard. Here, on the CD, we have both. Ron and Steve reinserted the skateboard, but they kept the cymbal. The effect is interesting, and perhaps a bit jarring. The vocals are moved in again. The sax (Boots Randolph) is more easily heard. In the middle, skateboard sounds are also added, inserted, for the first time in stereo. They are almost the same as on the 45. Just a hair off, but only noticeable to a picky fanatic. Sorry about that. When Dean re-cut this as the Legendary Masked Surfers, he lengthened the fade. So does the CD. Love those long endings!

From All Over The World

There have been more versions of this song than any other Jan and Dean hit ever. Following is a chart, showing the differences in the various versions. The data will be presented in the following format: Version identification. Label timing. Pitches on ending # of times "From all over the world" four words. is repeated in fade. If ending is vocal or instrumental. Ok, here goes. 1. Hit 45. 2:40 ov- 3 repeats From all er world! instrumental ending. the 2. Command Performance LP. 2:34 1 time, no repeats. world! instrumental ending. From all over the 3. Golden Hits (mono) 2:43 6 repeats ov- vocal ending From all er world! the 4. Golden Hits (stereo) 2:43 5 repeats ov- instrumental ending From all er world! the 5. Studio Out Takes bootleg. 3:18 No vocals No vocals Instrumental ending. 6. "Music City" alternate No timing. version. 3 repeats ov- Instrumental ending From all er world! the So, which version was used on the CD? None! The CD has a version that is just like the mono Golden Hits, except that it has seven repeats! 7. CD 2:43 ov- 7 repeats From all er world! Vocal ending. the (By the way, the version used on the TAMI Show movie soundtrack was all screwed up, edited to be much longer. But the ending is like the one on the Command Performance LP!)

Freeway Flyer

This is the cut that I, in the SM article years ago, voted most needed to be on a CD, due to the wall-of-sound it presents. A 45 just did not ever seem to be able to carry it, although I have been in love with this song since I first bought the "From All Over The World" 45 at the record store in 1965 and played it at home. And I got my wish! Hearing this in stereo is a real trip. There is nothing disappointing here at all. The mix does change the balance of the vocals. The falsetto (apparently courtesy of Phil Sloan) is way louder than the 45 on the phrase, "Freeway Flyer, gotta make his quota today!" The most jarring difference is on the sound effects, a police siren and a J&D skid and crash. The original recording was not available apparently, and the new one is a more modern siren, electronic, instead of the old kind we heard in the '60s. Also, it rises and lowers in pitch differently than the 45. In the middle break, the siren trails into the vocal part in a way I do not think it did in the 45. And the ending? Well, the fade is extended and the siren start is delayed. At first, I was shocked, but I have learned to expect it. One nice touch of the original is sacrificed. The siren used to come right as Phil's falsetto part ended, and on the same musical pitch, a nice touch as I say. The new one loses that touch completely. Another difference at the end. On the 45, the skid and crash were at full volume -- there was no "fade." On the CD, the music begins to fade as the delayed skid and crash come, later and at reduced volume. I am not complaining, or even criticizing. Just pointing out the niceties, for the record (or the CD, as the case may be), for the benefit of the record collectors. Wouldn't it be great if DJs started playing this cut, mistaking it for a national hit?

You Really Know How To Hurt A Guy

There is little changed here. It was the first J&D hit to be done on an eight track recorder. But it was wel mixed already, that nothing much needed to be done to help it out. (The vocals are moved in, of course.) Except the ending! Holy Pop Symphony! Extra vocals and an ending almost like the one subsequently used on the pseudo-classical LP!

I Found A Girl

Do I detect more phasing? There is some guitar that is louder than it used to be on the "But now I can't see how," and elsewhere. Vocals moved in. The biggest change. On the word "but things are different NOW," there is a rise in pitch on "now" that was not on the 45. On a stereo LP, one can hear where the vocal part was potted down suddenly at that point. I always wondered why, and now I know. Jan changed his mind and did not keep that change in pitch. The fade out is longer. This song was apparently very big in Europe. Batman This sounds just like the stereo LP cut of old to me.

Summary

I give this CD an unqualified recommendation. Any fan, or even a nubie who never bought Jan and Dean before, should get it. I have been listening to it over and over all day every day for weeks. I have long wanted a J&D CD for the benefit of those oldie stations who play only CDs. Now we have one. And, it will be obvious when the stations do play it, with cuts like "Surf City" and "New Girl In School" so radically altered What Is next? There is supposed to be another CD coming out, with rare and unissued material. There are many such tracks in the vault that would be good to hear. "Music City" is an alternate version of "From All Over The World," which I once heard a tape of. This version correctly gives London as the home of the Rolling stones instead of Liverpool. There are some Coke commercials that are unlike the ones played on US radio in the '60s. According to Dean, there was even an LP finished, all except for vocal parts, in the can at the time of Jan's accident. Plus, the many bits and pieces of rare stuff that has been on various bootleg LPs. I even have an original, one-of-a-kind studio acetate of an alternate version of "Linda," that is radically different, vocally, from the hit. Cross your fingers!

P.S. When I was reading the CD liner notes with my magnifying glass, I read every word. I mean, how often do we get some new liner notes to read? As I neared the end, I was sad. It was almost all over. Then I got to the last lines. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Sunshine Music! After over 10 years, we finally made the big time! Who would have thought, when we saw the fan club address on the 1964 LPs, that a new thing called a CD would list our club 25 years later. This is the most exciting thing since Jennie Lee first --well, maybe not that exciting. (Review written 12-90) Doc

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